1989 Metal & Hard Rock Albums

Great White's fourth album, released on 12 April 1989, went double platinum as its cover of Ian Hunter's "Once Bitten Twice Shy" hit number 5.

Queen's thirteenth album, released in May 1989: the first to credit every song to the whole band, behind a cover that merges the four faces into one.

Savatage's fifth album, released in Europe in December 1989: their second with Paul O'Neill, led by its piano-driven title song, and a first step towards rock opera.

Blind Guardian's second album, from 1989. Kai Hansen, just out of Helloween, guests on it, and it made the band's name among German-metal fans in Japan.

Soundgarden's second album, out on 5 September 1989: their first on a major label, and the last with founding bassist Hiro Yamamoto.

The third album: eighteen tracks, the most of any of his records, and the first on which he sings.

Ministry's fourth album, out on 14 November 1989, the record that carries Thieves and Burning Inside.

Outrage's second album, out on 7 April 1989, on which the riff-driven writing of the debut grows fiercer still.

Voivod's fifth album, recorded at Victor Studio in Montreal in 1989 and released by Mechanic/MCA on 13 October that year.

Faith No More's third album, the first with Mike Patton singing, recorded at Studio D in California between December 1988 and January 1989.

King's X's second album, recorded at Rampart Studios in Houston, Texas and produced by Sam Taylor with the band.

Sepultura's third album, recorded through the night at Nas Nuvens in Rio de Janeiro in December 1988 with Scott Burns producing.

Running Wild's fifth album, recorded at Studio M in Hanover in July and August 1989 and released by Noise Records on 8 November that year.

X Japan's major-label debut, recorded between January and March 1989 and released by CBS/Sony on 21 April that year, billed as X.

Obituary's debut, made at Morrisound Recording in Tampa, Florida with Scott Burns producing, and released by R/C Records in 1989.

Morbid Angel's debut, recorded at Morrisound Recording in Tampa, Florida in December 1988 and released by Earache Records in 1989.

Autopsy's debut, recorded at Starlight Sound in Richmond, California in January 1989 and released by Britain's Peaceville Records.

Sodom's third album, recorded at Musiclab Studios in West Berlin over March and April 1989 with Harris Johns producing. It reached number 36 on the German album chart.

Overkill's fourth album, recorded at the Carriage House in Stamford, Connecticut over June and July 1989 with Terry Date producing.

Terrorizer's only studio album, made at Morrisound Recording in Tampa, Florida in May 1989 — produced by David Vincent, engineered by Scott Burns, and finished in a matter of days.

Carcass's second album, recorded at The Slaughterhouse Studios in East Yorkshire over July and August 1989 with Colin Richardson producing.

Repulsion's only album, cut for US$300 over three or four days in a basement studio in Flint, Michigan in June 1986, and released three years later by Necrosis Records in July 1989.

Godflesh's debut, made by Justin Broadrick and G. C. Green with a drum machine in place of a drummer, and released by Earache Records in 1989.

The fourth album, out on 19 June 1989. Sessions begun in Berlin were stopped by producer Randy Burns and the record was made again in Hollywood in January and February 1989. Noise issued it in Europe and Epic in the United States, the band's first major-label release there.

The second L.A. Guns album, released by Vertigo on 19 August 1989 and the band's best-known record thanks to "The Ballad of Jayne". Fourteen songs; the Japanese pressing was PPD-1032.

Hunting Time is Anthem's fifth studio album, released on 21 May 1989. Their third with Chris Tsangarides, it was made as the decisive record for the line-up built around Yukio Morikawa and is counted among the band's best.

Soldier of Fortune, released on 17 September 1989, was the first Loudness album with the American vocalist Mike Vescera after Minoru Niihara's departure. Max Norman and Roger Probert produced; it opened the band's second era.

The second solo album, made after signing to Mercury. Axl Rose appears in the video for "Dead, Jail or Rock 'n' Roll" and the record reached number 161 on the Billboard 200.

Eat the Heat brings David Reece into Accept and moves the band toward a more melodic, open sound than before.

Pump joins Aerosmith’s bluesy swing to the larger, polished sound of the late 1980s with remarkable control.

Alice in Hell is a thrash-metal debut built around Jeff Waters’s razor-sharp riffs and unpredictable turns.

Kingdom of the Night introduces Axxis with bright melodies, crisp guitar work, and choruses built for singing along.

After Hours is Bad Habit’s debut, built from smooth melody, layered choruses, and spacious keyboards.

Headless Cross builds on Tony Iommi’s heavy riffs, joining gothic atmosphere to dramatic melodic writing.

Danger Danger’s debut gathers bouncing rhythm, glossy keyboards, and highly immediate choruses into a pure melodic-hard-rock statement.

When Dream and Day Unite presents Dream Theater’s long forms, changing meters, and technical playing with the urgency of a young debut.

Fabulous Disaster concentrates Exodus’s raw speed and hard-edged riff attack into a fierce third album.

Extreme’s debut joins sharp guitar riffs, funk-leaning bounce, and energetic choruses into a vivid first statement.

Perfect Symmetry adds more complex rhythm and tense construction to Fates Warning’s heavy-metal force.

Tough It Out is built around FM’s detailed harmonies and Steve Overland’s soaring voice.

Last of the Runaways unites Giant’s refined melody with powerful full-band playing.

Blue Murder puts John Sykes forward not only as a guitarist but as a frontman shaping his own sound.

Hot in the Shade keeps KISS rooted in direct hard rock while opening the door to a broader range of melodies and moods.

Love + War brings Lillian Axe’s heavy guitar sound together with more lyrical melody and richer arrangement.

Blessing in Disguise introduces Metal Church with new vocalist Mike Howe and joins heavy guitar to a broader melodic range.

Save Yourself is a useful way to hear MICHAEL SCHENKER GROUP from a different angle within the 1989 catalogue.

Dr. Feelgood finds Mötley Crüe with tighter, heavier riffs and a more dimensional ensemble sound.

Mr. Big’s debut shapes the advanced playing of Paul Gilbert and Billy Sheehan into accessible, song-centered hard rock.

Pink Cream 69’s debut combines thick guitar, bright keyboards, and strong choruses into a German melodic-hard-rock statement.

Secrets in a Weird World places more complex, shadowed melody on top of Rage’s speed-metal drive.

Presto finds Rush turning away from display for its own sake and toward lighter arrangements and clear melodic lines.

Misspent Youth brings Shy’s strong guitar riffs and rich choruses together with a distinctly British melodic feeling.

Skid Row’s debut carries the flash of hair metal but gives it a rougher, more street-level edge.

Fright Night presents a harder, darker form of heavy metal than the polished power-metal identity Stratovarius would later establish.

The Great Radio Controversy puts Tesla’s blues-touched hard-rock feel beside strong melodic writing.

Practice What You Preach keeps Testament’s thrash-metal attack while making its hooks and vocal lines more immediate.

Sonic Temple expands the Cult’s dark sense of style into larger, more direct hard rock.

Intuition presents TNT’s high-register vocal, technical guitar work, and pop-minded choruses in a more refined form.

Organized Crime finds Treat pursuing a more polished melodic-rock sound on a foundation of hard guitar riffs and large choruses.

Mean Machine places Udo Dirkschneider’s singular roar at the center of short, forceful riffs and crisp rhythm work.

The Headless Children keeps W.A.S.P.’s rough hard-rock momentum while moving into heavier themes and more deliberate construction.

Dirty Rotten Filthy Stinking Rich introduces Warrant through bright melody and an easy rock-and-roll lift.

Big Game keeps White Lion’s flowing guitar work and melodic gift while looking toward a wider range of subjects.

Slip of the Tongue centers David Coverdale’s forceful vocal delivery inside a hard, glossy guitar-driven sound.

XYZ’s debut enters melodic hard rock through thick guitar riffs and layered choruses, shaped by Don Dokken’s production.